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Medium chamber ensemble Competitions & Call for pieces

 14th SUN RIVER PRIZE Students’ New Music Composition Competition Chengdu, P.R. China, 2018
Summary:Chamber Competition
Deadline: 08 October 2018
Date Posted: 19 April 2018
Details: ◆Sponsored by Sichuan Conservatory of Music
◆Organized by Composition Department of Sichuan Conservatory of Music
ISCM-Chengdu section
Research Institute of Composition Technique of Sichuan Conservatory of Music

◆Chairman of the Organizing Committee
Prof. Lin Ge’er
Composer, President of the Sichuan Conservatory of Music

◆Chairman of the Jury
Prof. Qin Wenchen
Composer, doctoral supervisor
Vice President of Central Conservatory of Music

The competition of this year is chamber music, and the establishment of music instruments to be selected of 1-9 instrumentalists combined willingly and the same instrument is not more than 4. (Without any electronic instrument, equipment and computer)
The composition should be under 12 minutes.

1. All students. (No limitation on nationalities, regions and ages).
2. The composition should be written any style and in last three years.
3. The composition must be unpublished, and must not have been awarded in any other contest prizes.
4. Each candidate is allowed to offer only one piece for the competition and should not enter for the competition with others' name.

◆How to enter
Candidates should fill out the entry form (enclosed) and offer the copies of the ID and the Student ID card, as well as 7 copies of the composition score.
The composition should be delivered by the registered letter to the Competition Committee before the deadline.
The score of the computer file (PDF format) should be sent via email to at same time.

◆Mailing Address
Committee of 14th SUN RIVER PRIZE Students' New Music Composition Competition
Research Institute of Composition Technique,
No.6 Xinsheng Road, Chengdu, 610021 Sichuan, P.R.China

◆ Contact
Mr. Gou Yong, Mr. Hao Yukai
Tel & Fax +86-28-8543 0253
Deadline: 08th October 2018
(Entries must be received before 08th October 2018)
we recommend the candidates to offer the CD record of the composition, but the audio files are not required.
All materials offered by the candidates (including scores and CD) will not be returned.

◆Award and Prizes
1st Prize (1): RMB ¥15,000 (pre-tax) and the certificate.
2nd Prize (2): RMB ¥10,000 (pre-tax) and the certificate.
3rd Prize (3): RMB ¥5,000 (pre-tax) and the certificate.
Honorable Mention (several): the certificate.

The juries have the rights to decide the prizes and the number of the vacant winners, and the jury's decision is final.

◆Additional Directions
1. During the selection of the competition, any prize-winning composition could be published and played permanently and freely by the sponsors.
2. Please do not write your name and any non-musical notes on the composition score, otherwise the candidates cannot enter for the selecting procedure.
3. The entry form is enclosed (copy is available), which should be posted after being filled out with the record and copies of the composition score.

Summary:Chamber competition with voice
Deadline: 20 July 2018
Date Posted: 12 April 2018
Details: Carlo Sanvitale, former president of the Association, passed away on 2013.
The –Associazione Amici Della Musica “Guido Albanese”– invites composers of all ages and nationalities to participate in the 1st “Carlo Sanvitale” Composition Competition. The composition should be challenging, but at the same time accessible and playable by young talented players.

The goals of the contest are:
• To offer young composers the possibility to have their works performed live
• The possibility to acquire experience with a chamber ensemble (Complesso da Camera “Carlo Sanvitale”).

The Competition is open to composers and students of all ages and nationalities. The submitted works must satisfy the following criteria:
• Orchestration (max.): 2 violins, viola, cello, piano, tenor or soprano. Works whose instrumentation includes other instruments will not be taken into account for the competition;
• The length of the composition must be between 3 and 10 minutes;
• All complementary documents (music, bio sketch, program notes) have to be submitted to the jury along with the score;
• Scores have to be sent in PDF format to The submission is not deemed successful until a confirmation e-mail has been sent;
• The composition has to be original and never performed before;
• The composer renounces to execution rights for the performance by the Complesso da Camera “Carlo Sanvitale”;
• The difficulty level of the composition has to correspond to the skills of an advanced amateur chamber ensemble with a conductor;
• Each candidate may submit one composition per year. The same composition can be submitted at most over two non-consequent years.

Shall the composition be selected as winner, the composer has to provide to the secretary of the competition the separated parts by July 30, 2018. Tempo, dynamics, articulation and rehearsal letters for the different instruments must be indicated on both the main score and the separated parts. The winner must agree to the following:

• The selected work will be performed and recorded by Complesso da Camera “Carlo Sanvitale” during the Music Day, that will be held on August 12 and 13 in Ortona, Italy.
• The author of the winning work can participate in the rehearsals and the concert that will be held in Istituto Nazionale Tostiano, Ortona, Italy, on August 12. Travel fees will not be refunded. Accommodation will be provided by the Association.
• The author of the selected work has to provide a short description of their work; this will be included in the concert program.
• The author of the selected work agrees to transfer the parts to the performers.


The author of the winning competition will receive a prize of 150 Euros + the commission for a work for orchestra to be performed in January 2019. Composers classified first, second and third will receive a Diploma. The winning composition, together with no more than three other compositions, will be recorded during the Music Day.

All living composers are eligible. The submissions will be received by the Associazione “Amici Della Musica”, made anonymous and then presented to the jury. Deadline for submissions is July 20, 2018. The results will be announced on July 25th, 2018. The jury’s decision is non-contestable and all decisions are final. The premiere of the selected piece will take place in August 12th, 2018 in Ortona (I).

If you want to participate, please send us the following:
• One digitized anonymous copy of the score (PDF) (also digital copy of manuscripts are accepted);
• A computer-generated recording (if possible)
• A copy of a bank transfer for the amount of 30 Euros to “Amici Della Musica Guido Albanese” IBAN: IT83R0605077780CC0520081776 SWIFT: CRPCIT3J Subject: “Iscrizione 2018”

Communication will be held in Italian, English or French. The Italian version of this call for submissions should be considered definitive. Translations are without guarantee.

• Mykolas Natalevicius, Lietu The “Castello Aragonese” in Ortona

vos Kompozitorių Sąjunga (LT)
• Simone Di Felice, Kappelmeister dell’Opera di Francoforte (D)
• Levente Török, Kapellmeister del Teatro di Regensburg (D)
• 3 Performers belonging to Complesso da Camera “Carlo Sanvitale” will be selected on June 2018.

 International Clarinet Association
Summary:Clarinet with string quartet competition
Deadline: 20 December 2018
Date Posted: 12 April 2018
Details: The ICA seeks previously unperformed works for clarinet and string quartet (2 violins, viola and cello), 10-15 min. in length. The deadline is December 20, 2018; the winner will receive a $1000 prize and a performance of the work at ClarinetFest® 2019.

For details, please contact Antonio Faioli, coordinator.

2019 Composition Competition–Clarinet and String Quartet (2 violins, viola and cello)

Antonio Fraioli, Coordinator Email:

Eligibility: The competition is open to composers, clarinetists, and musicians who desire to further the repertoire of clarinet and string quartet with an original composition.


1. Items must be received by December 20, 2018.

2. Applicants should email the Competition Coordinator, Antonio Fraioli and ask for a Dropbox “File Request” link. Upon receipt of this link, applicant will upload related files

3. The subject line for all email communication should read “ICA Composition Competition” followed by the applicant’s full name.

4. Scores must be submitted electronically (PDF only) WITHOUT the applicant’s name or any identifying information on the score or in the filename. Scores must be submitted to the “File Request” Dropbox link obtained from the coordinator in item 2.

5. In a separate PDF document, include contact information (name, address, phone, website, and email), a short bio (100 words or less) and name of submitted work(s). Include the applicant’s name in document filename. (this information will not be viewed by the jury).

6. A midi recording in .mp3 format or a clarinet and string quartet recording in .mp3 format must be submitted.

Contest Rules

Application fee: $25 US. Make amount payable to the “International Clarinet Association” in U.S. currency by bank check, money order, or credit card only. If paying by credit card, please use the credit card payment form. PayPal is also accepted to The application fee is non-refundable.
The 2019 Composition Competition call is for a work 10-15 minutes in length, scored for clarinet and string quartet (2 violins, viola and cello). The submitted work must have no prior performances.

A committee having no knowledge of the applicant will conduct the judging of scores and parts. Do not include any identification on the scores and on the .mp3 realization. The winner will be notified via email by February 15, 2019. The winning composition will receive a world premiere performance during ClarinetFest® 2019, July 24-28, 2019, in Knoxville, Tennessee. Travel expenses will be the responsibility of the winner. Free registration at ClarinetFest® 2019 will be provided. If the winner is a clarinetist, he/she must be a member of the I.C.A. Past first-prize winners are not eligible to compete. All contestants will accept the decision of the judges as final. The ICA will provide the clarinetist for the premiere performance.

All scores and parts will become the property of the ICA Research Center at the University of Maryland Performing Arts Library and will not be returned.

$1,000 Prize

The I.C.A. assumes no tax liability that competition winners may incur through receiving prize money. Individuals are responsible for investigating applicable tax laws and reporting prize winnings to requisite government agencies.


 BRUNO MADERNA International Composers’ Competition 3rd Edition: 2018
Summary:Works for ensemble (3–10 players)
Deadline: 15 June 2018
Date Posted: 05 April 2018
Details: City: Lviv (Ukraine)

Sponsored by : Lviv Philhamonic Society

Date: 14 to 18 July 2018

The International Composers’ Competition BRUNO MADERNA was born from the idea to create a project that will work on the meeting of the contemporary music of our time, dedicated to the memory of the great italian composer of 20th century Bruno Maderna (1920-1973).

All composers who wish to participate into the International Composers’ Competition BRUNO MADERNA must write an original work with organic selected from three to ten instruments.

The 3rd International Composers’ Competition BRUNO MADERNA is open to all composers of any age and nationality.

The organization will select composers who will have the opportunity to participate into the International Composers’ Competition BRUNO MADERNA from 14 to 18 July 2018 in the city of Lviv (Ukraine), inside the Lviv Philhamonia.

The composers’ selected works will be performed in two final concerts 17 and 18 July inside the Concert Hall of Lviv Philharmonic Society.

The concerts will be recorded by a sound engineer with the selected works. A movie director will make a video of the concert.

BRUNO MADERNA International Composers’ Competition 2018 | Participant Info

The International Music Composers’ Forum BRUNO MADERNA COMPETITION 2018 will take place from 14 to 18 July 2018 in Lviv (Ukraine) – Address: Tchaikovsky str. 7 (Lviv Philarmonic).

Each composer must submit – deadline: 15 June 2018 – a music score choosen in the following instruments:

the organic selected from 3 to 10 players is : 1 piano, 2 violins, 1 viola, 1 cello, 1 contrabass, 1 flute (in Do, Sol, piccolo), 1 clarinet (Si bem, bass clarinet), 2 percussionists ( timpani, vibraphone, xylophone, bass drum, cymbals, tubular bells, wood blocks, gong).

The work must not exceed 12 minutes.

All score will be sent by email (only one work for composer), in PDF format, at

Each email sent to submit a score shall include:

– the score, from 3 to 10 players, must be in A4 format, indicating the duration, as PDF file (Sibelius or Finale program);
– a second PDF-file containing the identity of the composer (name and address, nationality, telephone number, email, website, short CV) and a statement by the composer stating that the submitted work has never before been published, performed in public and/or broadcast before, nor prized in any composer’s competition. Other file format than PDF are not acceptable and will result in the submission being rejected! There is no registration form.

The Composition Staff will select composers, from all the application submitted, no later 17 June 2018.

Each composer selected for the International Music Composers’ Competition 2017 will be notified by email and must send the instrumental parts no later then 20 June 2017.

Three prizes will be awarded.
1 Prize – 700 USD, and the score published by Aldebaran Editions
2 Prize – score edited by Aldebaran Editions
3 Prize – score edited by Aldebaran Editions

The Composition Staff reserves the right not to award the prize and to award Special Mentions of merit.

Summary:Chamber call (at least 6 musicians)
Deadline: 30 June 2018
Date Posted: 05 April 2018
Details: The cultural and musical organization Syntax Ensemble is proud to announce a composition competition seeking submissions of new scores to be included in its repertoire. Syntax Ensemble will be awarding prizes for compositions most successfully conveying aesthetic clarity in addition to demonstrating command of instrumental writing and electronic programming skills highlighting the performers’ technical and expressive skills.

Art. 1. Eligibility
The competition is open to male and female composers of all nationalities, not yet 40 years old by November 30th 2018. It is also open to people belonging to no country: these will be asked to include a declaration of residence.

Art. 2. Submissions
The competition involves three steps.

Step 1
Participants are required to submit two scores for any instrumental group along with a recording of the piece (.wav, .aiff, .mp3, or aac les). Acousmatic pieces and videos will not be taken into consideration. Scores and recording les can only be identi ed by a pseudonym with no reference to performance location, institutions potentially commissioning these works or musicians involved in the recording. Scores submitted with CDs and commercial DVDs are also accepted and no speci c aesthetic orientation is privileged to the detriment of any other. Scores and recordings must be submitted with the documents outlined in art.10.
By the end of a plenary session, the Syntax Ensemble will have selected up to 30 scores for the following step in the contest.

Step 2
Selected scores will be handed over to a contest international committee including:
• composer Ivan Fedele;
• composer Gabriele Manca;
• composer Alessandro Solbiati;
• music promoter Gabriele Bonomo;
• musicologist Gianluigi Mattietti;
• art patron Ralph Fassey.
Submitted scores can only be identi ed by their pseudonym. The committee will be selecting up to ve candidates who will then proceed to the following step in the selection process. The nalist composers’ identity will not be disclosed to members of the committee.

Step 3
The ve composers admitted to phase 3 are the competition’s nalists. They will be asked to write a new piece following the rules outlined in art. 3 and 4. They are strictly forbidden to contact members of the committee for competition- related matters.
The Committee will notify Syntax Ensemble members of any interference: candidates involved in such interferences will no longer be considered for the competition. Committee members will clearly state whether they have any educational ties with the nalists. In addition, they will be required not to express any judgment about the compositions.
New pieces will be performed in a public concert which members of the Committee will be attending throughout the Syntax Ensemble music season. The candidates’ names will be displayed in public no earlier than the beginning of the concert evening.
After the concert, the committee will be withdrawing and proceed with deliberation before selecting the competition’s Winner.
Art. 3 Instrumental set-up for the final phase
The five nalists will be expected to write a new piece lasting between ten and fifteen minutes for an ensemble made up of at least six musicians, freely selected among the following:

• Female voice (extended from A3 up to Bb5);
• Flute (Piccolo, C Flute, Alto Flute, Bass Flute, Sliding Whistle);
• Clarinet (Clarinet in Eb, Clarinet in Bb, Clarinet in A, Bass Clarinet);
• Violin (acoustic and electric);
• Cello (acoustic and electric);
• Grand Piano (no upright piano);
• Percussion: Vibraphone, 1 tam tam, 1 triangle, 2 suspended cymbals, 2 temple blocks, 5 wooden blocks,
1 snare drum, 2 tom toms;
• Electronics (audio les and/or live electronics).

Electronics receive as much attention as musicians. Through performance of the same score, any one musician may be playing more than one instrument within the limits set in the above list.

Composers must clearly indicate whether or not a conductor is needed. Scores must be digitally typed with music notation software.

Contingent preparation for instruments is allowed within limits. In such circumstances, composers are required to provide a video demonstrating, within a 2-minute time frame, how to prepare each and every instrument with easily available material (amateur quality videos in .mov, .mp4, and .avi formats are accepted).

Musicians can also use such accessory tools as rattles, toys, triangles, small electro-acoustic devices. Candidates will then be asked to provide them if the ensemble runs into dif culties acquiring such material.

Art. 4. Electronics format
Electronics are allowed for pieces presented in the step 1 le as well as for the new pieces composed for the nal evening. With respect to the speci c use of electronics to be included in scores presented in step 1, composers simply make sure that recordings are included with the score. There is no need to send digital les. Further details on rules for programming electronics will be discussed and agreed upon with nalists by the end of phase 2 of the competition. “Low- ” electronics are also allowed. The ensemble ensures that all material prescribed within the score is made available; composers make sure it is delivered by post. While the bid is open, further explanations regarding capturing
and broadcasting devices may be requested.

Art. 5. Administrative contribution
Participants are required to pay for a 70€ administrative fee prior to the bid’s deadline. Payment can be made to the following bank account:

IBAN: IT45 F033 5901 6001 0000 0157 244

Composers from China, Russia and other countries with limited internet access or subject to restrictions in terms of payments abroad, can pay for their fees, tax included, via the PayPal account associated with the syntaxensemble@ email address. Contribution fees must be sent in euros.
Bitcoin or other crypto-currency payment is strictly forbidden.
Participants are asked to attach copies of bank transfer receipts.
Participation fees are non-refundable.

Art. 6 Attendance of selected nalists at the nal concert
Finalist composers are not required to attend the nal concert.
Participants must pay for travel and hotel expenses. The ensemble administration provides support for candidates requesting of cial invitation documents needed to help funding their trip.

Art. 7 Application submissions and announcement deadline
The participants’ les for Step 1 of the competition, along with the signed and completed application, must be submitted via web (dropbox link, wetransfer, google drive, ftp space, etc.) by June 30th 2018 at 11.59 pm to the coordinazione@ email address.
Files not complying with the rules will not be considered for the competition.
Composers must provide all digital, audio and video material needed for proper broadcasting within the time limits set by this bid. Selection results will be communicated by e-mail once the selection phase has reached its conclusion.

Art. 8 Competition calendar
Composer candidates will be asked to take note of the following deadlines:
• • •

Art. 9 Awards
Once the Committee has selected the ve pieces, these will be performed at a Syntax Ensemble concert in Milan’s Teatro Dal Verme.
The Committee will be assessing the ve nalist scores once the pieces are auditioned. At the end of the concert, the Committee will be announcing the competition’s Winner who will be entitled to a 2500€ reimbursement covering costs for a new composition for the Syntax Ensemble (though electronics are welcome, they are far from being compulsory). New scores must be submitted no later than December 2019. The piece will be performed sometime during the 2019/2020 Syntax Ensemble season. The Winner will be invited to attend the commissioned piece’s premiere performance.

Art. 10 Annexes and disclaimers
Files and completed application must also include:
• A copy of a valid Identity card (pdf);
• A copy of payment of the participation fee;
• A CV in .doc, .pages or .txt format (no more than 100 words);
• 1 portrait photo free of rights.
Art. 11 Further information
For any additional information, please write to:

June 30th 2018: application submission;

July 31st 2018: communication of participants selected for step 3;

January 31st 2019: submission of new compositions scores (electronic components included). The nal concert is scheduled for the 2018/2019 Syntax Ensemble Season no later than April 2019.

Art. 12 Final provisions
For any dispute, the present announcement would prevail in its original, Italian-language version and, according to Italian law, the issue will be submitted to the Court of Treviso’s exclusive jurisdiction.
As for other unforeseeable circumstances in this competition, provisions of the Italian Civil Code, as well as special laws of the eld in question, will be applied.
The Syntax Ensemble administration, in charge of this Composition Competition, reserves the possibility to bring changes to this bid.
The Syntax Ensemble Cultural Music Organization guarantees equality and equal opportunities between men and women in terms of access to the competition announcement pursuant to Legislative Decree n. 198/2006.

In compliance with the Italian Legislative Decree n. 196/2003, the processing of personal data provided by the participants is based on principles of correctness, lawfulness, transparency, and privacy protection - especially regarding the participants themselves.

All processing is done once les are received for the purpose of the young composers’ participation. All data is stored on computer and paper archives. Personal data will be available to holders of rights of access, according to the rules of law or regulation, whenever needed for performance purposes or institutional functions of public interest. Participants are acknowledged for rights such as they are referred to art. 7 of the Italian Legislative Decree n. 196/2003 as well as for rights to access personal data, to request recti cations, update and cancel data - especially if incomplete, inaccurate or collected with disregard for the law - and ultimately to refuse all processing for legitimate reasons.

The Syntax Ensemble cultural and musical organization is the holder and person responsible for processing. Competition rules and application forms are downloadable from

 Boston New Music Initiative
Summary:Competition with two categories
Deadline: 30 April 2018
Date Posted: 22 March 2018
Details: Opens: March 15, 2018
Deadline: April 30, 2018

The Boston New Music Initiative is announcing a call for scores to be programmed on a concert in collaboration with an established guest string quartet as part of BNMI’s tenth season. Incorporated in 2010, BNMI aims to advance the careers of its members in the field of new music by serving as a resource for networking, professional development, commissioning, collaboration, and programming. The call is open for acoustic, electro-acoustic, and multimedia works. The competition is open to all composers with no restrictions.

The theme of BNMI's Tenth Season, which runs from 2018-2019 will be “The Beauty of the Line.” We aim to program one (1) to three (3) works per category. Works chosen for this will be presented at a performance to take place in the Fall of 2018.

Category 1: String Quartet(+)
Works for string quartet alone or with one or two instruments from BNMI’s core ensemble (see Instrumentation below). Submissions should be for four to six instruments.

Category 2: Pierrot Ensemble(+)
Works for at three or more players, at least two of which must be from BNMI’s core ensemble (see Instrumentation below), with the possible addition of one or more members from the string quartet. Maximum Instrumentation: Fl, Cl, 3 Vln, Vla, 2 Vc, Pno, Perc.

At this time we are not accepting solos, duets, or works with any instrument not listed. See Instrumentation below for acceptable doublings. Works with electronics are accepted, see below for specifications.

We strongly encourage all composers to download and review the BNMI Submission Guide ahead of submitting to this competition.

1. Instrumentation. BNMI’s core ensemble consists of Flute (doubling Piccolo, Alto Flute, or Bass Flute), Clarinet in B-flat (doubling Clarinet in A or Bass Clarinet in B-flat), Violin, Violoncello, Piano, and Percussion. Works with unusual percussion instruments or a large number of percussion instruments may not be able to be programmed. Stereo electronic, electroacoustic, or multimedia works are accepted, but live performers must be used (no fixed-media).
2. Duration. Works can be of any duration, although preference may be given to works which are 12 minutes or less.
3. Multimedia. For all multimedia submissions, composers must either indicate that they have the rights to the specific multimedia element to be used (e.g. the film, tape, MAX/MSP patch, choreography, artwork, etc.) and grant BNMI permission to utilize it during performance, or else grant BNMI permission, at its discretion, to create a multimedia element. In the second case, BNMI reserves the right to incorporate or not to incorporate multimedia elements at its sole discretion.
4. Electronics. Scores of works involving electronic elements must include information on the specific technical requirements for performance. Likewise, multimedia works must indicate any extramusical forces needed. Works utilizing excessive electronic equipment may not be able to be programmed.
5. Number of Entries. There is no limit on the number of works a composer may submit; however, each work should be submitted as a separate entry. Multi-movement works should be submitted as single entries, even if movements are in separate files. (The submission process allows for multiple files per entry.)
6. Anonymity. All submissions must be anonymous. Scores, proposals, or other materials with names or other identifying marks will not be considered. Please remove all identifying marks from all materials (except the composer information page, see submission process below) before submitting. Please make sure no meta-data including names or identifying marks remain in submitted files. No pseudonyms or code numbers are necessary. If you have a supporting visual artist involved, please remove their names as well.
7. Membership. Composers wishing to submit scores must become members of BNMI; Associate Membership is free and Full Membership is $20 a year. Information on membership benefits can be found here.
8. File Formats. The only acceptable file formats are:
o For the score: .pdf
o For (optional) audio recordings: .mp3 or .m4a
o For (optional) video: .mov or .m4v
o All other materials: .doc, .docx, .txt, .rtf, .odt, or .pdf
9. Delivery of Music. Selected composers are required to provide electronic copies of the full score and parts within four (4) weeks of their notification of selection. If electronics or multimedia are involved, all files required for performance and rehearsal must be submitted within the same time frame.
10. Permission for Use. By submitting to this call, the composer gives permission to record audio and video of any and all concerts and events hosted by or associated with BNMI in which the submitted piece is included. BNMI shall possess ownership of recorded audio and video and maintains the right to publicly distribute audio and video for promotional purposes. BNMI shall not publicly distribute the recording of any performance for financial gain.
11. Questions? Please address any questions to Note: Please do NOT send submission materials to this email address as the materials cannot be submitted using this method. When submitting inquiries, please be as generic as possible, and do not include the title of your piece in the query in order to preserve anonymity.

Submission Process
Composers are asked to use our submission portal to upload the following materials (each as separate documents). If this is your first time submitting, please review our submission guide prior to starting the submission process.
1. An anonymous PDF file of the score.
2. A recording of the work (not required but encouraged)
3. For works using electronics, a detailed description of technical requirements and processes needed (i.e. a “tech rider”).
4. An entry fee for each submission. The entry fee for this competition is $15 for Associate Members, and $5 for Full Members. Membership information can be found here.
5. An information sheet containing the following:
o Composer’s contact information (name, phone number, physical mailing address, email address, and website URL, if any)
o Title, instrumentation, and duration of the work
o Work’s date of completion and complete performance history
o Performing rights organization (ASCAP, BMI, etc.) associated with the work and/or composer, if any
o Composer’s year of birth (for program information only)
o Composer biography and program notes for the work (maximum 300 words each), to be used if the work is selected. BNMI reserves the right to truncate the program notes or composer biography if either exceeds the word limit.

To Apply:
Please click the submit button at the bottom of the page.

We strongly encourage all composers to download and review the BNMI Submission Guide ahead of submitting to this competition.

Helpful Hints:

1. Please note that new memberships may take up to 24 hours to be approved (although usually much less). Composers signing up as new members who wish to submit to this competition should be sure to allot enough time for the approval process to complete in order to meet the April 30 deadline.
2. The submission portal is not available without login credentials. Composers who are not existing BNMI members should not attempt to go to the submission portal without submitting a membership application first: in order to create login credentials.
3. Once your files have been added for each work, be sure to complete your payment in the bottom left-hand corner of the screen. Full members must have dues paid in full in order to receive full membership benefits, including discounts on Calls for Scores and commissioning competitions. For those composers submitting more than one entry, payment should be made only after ALL entries have been completed.
4. More questions? Please see our submission guide.


 Summer Sinfonia
Summary:Chamber Call for Scores
Deadline: 01 June 2018
Date Posted: 15 March 2018
Details: Get your music performed and recorded by live musicians.

The Summer Sinfonia is a chamber ensemble of auditioned amateur adult musicians challenging themselves to connect local communities with specially-written repertoire.

So let's get to it!

Deadline: June 1, 2018
Application fee: None

The Dunedin Music Society seeks original chamber music inspired by historical heroes

The selected works will be performed August 2018 in Dunedin, Florida by the Summer Sinfonia, a chamber ensemble of auditioned amateur adult musicians challenging themselves to connect local communities with specially-written repertoire. The live performance will be recorded without restrictions of use by the Composer.

Any composer who has already graduated from an accredited higher education institution with a composition major focus.

Scores should accommodate all or any combination of the following (preference given to all seven performers being included) but not require electricity (sound production or amplification):
Advanced Players:
1. Flute/ Oboe/ Bb Clarinet/ Alto Saxophone
Proficient Players:
2. Eb Clarinet/ Bb Clarinet
3. Piccolo/ Flute/ Bb Clarinet
4. French Horn
Beginner Players:
5. Oboe
6. Flute
7. Piano

Performers did not audition if they submitted proof of passing within the last seven years one of the credentials listed below from either Trinity College London or ABRSM examination programs:

Grade 3 (Beginner)
Grade 5 (Proficient)
Grade 7 (Advanced)

or a bachelor’s or master’s degree with a performance major (Expert) from any accredited higher education institution in the USA.

Submission Process
Complete the online submission form.

Multiple entries are welcome, but each composition will require its own submission form.

If you have any questions, please contact us.


 Jazz Composition Competition – In commemoration of the end of WW1
Summary:Jazz competition
Deadline: 15 June 2018
Date Posted: 01 March 2018
Details: For 16-18 year olds living or attending school/college in Hampshire

‘2018 – commemorating the centenary of the end of WW1’

This project provides a fantastic opportunity for young composers aged 16 – 19 to compose a piece of music inspired by one of the most memorable images of WW1. Compositions should be between 3 – 6 minutes long and be created in a jazz idiom for any combination of instruments, up to a maximum of 6.

A score and demo recording (which can be computer generated) needs to be submitted by 15 June 2018 to a panel of experts and there will be a cash prize for the selected composition plus the opportunity to hear your piece performed live at a venue in Winchester*

Do you remember 'Blood Swept Lands and Seas of Red ' the installation of ceramic poppies at the Tower of London in 2014. It was inspired by the first line of a poem by an unknown WW1 soldier and was viewed by over 50,000 people.

This competition invites you is to respond musically not to a poem but to a painting. 'We are Making a New World' (Imperial War Museum ART 1146) is one of the most memorable images of WW1 - it was painted from sketches made at the front by a young and newly married war artist called Paul Nash. You are invited to create a piece of jazz music inspired by this painting &/ the words from the letter to his wife, which could be used as a narrative or vocal line to add drama to your work.

You can use any combination of instruments but please be aware that a public performance can only be given if an appropriate ensemble of players is available. Compositions should be between 3 – 6 minutes long.

Your Inspiration (painting and letter):
We are Making a New World, Paul Nash

Imperial War Museum link to the painting

Many of Nash's fellow officers had been slaughtered on the infamous Hill 60. He was at Passchendaele which saw the first use of mustard gas by the enemy and was witness to the total brutality of war. The title 'We are Making a New World' mocks the ambitions of the war and what might be described now as the 'fake news' that was presented to the public .He set out to show 'the bitter truth ' as he saw it. The painting shows a desolate landscape studded with potholes from shells and shattered trees, devoid of men, animals, weapons or action…

16 November 1917 Nash writes an impassioned letter to his wife which explains his motivation for the painting……..

'I have seen the most frightful nightmare of a country more by Dante or Poe than by nature, unspeakable, utterly indescribable. In the fifteen drawings I have made I may give you some vague ideas of the horror, but only being in it can ever make you sensible of its dreadful nature and what our men in France have to face.

We all have a vague notion of the terrors of battle....but no pen or drawing can convey this country- the normal settings of the battles taking place day and night, month after month. Evil and the incarnate fiend alone can be master of this war, and no glimmer of God's hand is seen anywhere. Sunset and sunrise are blasphemous, they are mockeries to man, only the black rain out of the bruised and swollen clouds all through the bitter black of night is fit atmosphere in such a land. The rain drives on, the stinking mud becomes more evilly yellow, the shell holes fill up with green-white water, the roads and tracks are covered in inches of slime, the black dying trees ooze and sweat and the shells never cease. They alone plunge overhead, tearing away the rotten tree stumps, breaking the plank roads, striking down horses and mules, annihilating, maiming, maddening, they plunge into the grave which is this land; one huge grave and cast up on it the poor dead.

It is unspeakable, godless, hopeless.

I am no longer an artist interested and curious, I am a messenger who will bring back word from the men who are fighting to those who want the war to go on forever. Feeble, inarticulate, will be my message, but it will have a bitter truth, and may it burn their lousy souls.'

Ref Paul Nash to Margaret Nash 16 November 1917 ' Outline' pp210-11, (Nash's autobiography)

Any queries, please contact

 Brian M. Israel PRIZE 2018
Summary:Competition 1–7 players
Deadline: 01 May 2018
Date Posted: 22 February 2018
Details: Deadline: May 1, 2018

The Society for New Music and the New York Federation of Music Clubs seek to encourage promising

New York State composers of student age or those just beginning their professional careers.

The competition is open to any composers currently living in New York State (students currently studying in New York State ARE eligible), born on or after May 1, 1988. Composers must submit music that has not previously been performed by the Society for New Music.

To honor the late composer Sam Pellman, who chaired the Israel Prize for so many years, SNM is awarding a $1000 Israel/Pellman Prize, as well as the $750 New York Federation of Music Clubs Israel Prize, both with a performance during the 2018-2019 season.

Only online submissions are accepted, through the link provided below, and must be received no later than

May 1, 2018.

1. Anonymous submission – the composer's name is not to appear anywhere on the manuscript itself, nor on any accompanying recording. A composer may submit only one work. Please identify the score by marking it with a pseudonym.
2. Online registration and submission only – go to this online form to provide required information:
3. Works should be concert music for one to seven performers, in any combination of instruments, electronic or digital instruments, and/or solo voices. Choral music will not be considered.
4. Submissions not complying with the rules of the competition will be disqualified, as will scores not meeting minimum professional standards of notation.

A panel of composers, conductors and performers will judge compositions on originality, artistic promise, technical skill and effectiveness in performance. The judges reserve the right to recommend that no award be given. Their decision will be announced in June 2018.

Parts are the responsibility of the winning composers and must be available by September 1, 2018. The winning composers will each be expected to attend one rehearsal and the performance, if possible.

For inquiries, contact: Ben Salzman, Hamilton College. Email:

 Ret Frem Ensemble
Summary:Rolling Call
Deadline: None
Date Posted: 20 September 2017
Details: New contemporary music ensemble Ret Frem are calling for composers of all ages to submit scores for chamber ensemble. We will accept both new scores and pieces that have been performed before. Successful submissions will be added to our repertoire through rehearsal and performance.

We accept scores in two categories:

Category 1: Scores for quartet of flute, clarinet, violin and cello (with standard doublings). Category 2: Scores for any combination of flute, clarinet, violin, cello and piano/electric keyboard (with standard doublings).

There is no fee for submission.
Scores can be in any style and of any duration.
Scores for solo instrument are just as valid as a quintet or anything in between, in

Category 2.
We will contact composers whose scores we wish to perform as and when our programme permits. The call is ongoing and there is no deadline: scores will be selected based on the curation of specific concert programmes.

Selected scores may be performed several times during our season.

Please fill in the attached Submission Form and send to: or Ret Frem Ensemble,Top Flat, 79 Brighton Road, London N16 8EQ << N.B. NEW ADDRESS

N.B. Not all our performance venues have pianos.

 11th Joan Guinjoan International Prize for Young Composers
Summary:Prize for ensemble
Deadline: None
Date Posted: 31 October 2012
Details: 1.The contest is open to composers of every nationality under the age of 35 at December 1st, 2012. Former winners of this award are not allowed to submit again.
2.Each participant may submit an unlimited number of works, which cannot previously have been published, premiered or commissioned. Works performed in the educational context of conservatories and schools of music will not be considered premieres.
3.The work, in a contemporary style, should be 10 to 15 minutes long.
4.The work must be written for an open formation of 6 to 15 instruments, with optional electronics, chosen from among those in an orchestra, piano, accordion, guitar, voice and typical jazz –electric guitar, bass and keyboards– instruments, “cobla” instruments, and instruments of early music: harpsichord, recorder, viola da gamba, cornet, sackbut, early bassoon and plucked string instruments. It is also possible to include a small choir of four voices (SATB, 4-4-4-4), which will be considered as four different instruments. There may not be more than two instruments the same, except for violins, for which there is a maximum of 10, violas and cellos, for which there is a maximum of 4.
5.The composer must submit six copies of the score and one registration form for each work presented. The work must be written and printed with a notation software which allows automatic extraction of parts, or the participants must commit to send the parts in case of being winners. Once the winner has been chosen, the composers may collect 5 copies of their works within one month from date of the award. One copy will remain in the archives of the School.
6.The amount of the award is 3.000 €. The chosen work will be premiered by the Escola Superior de Música de Catalunya with the option to be professionally recorded on CD by the School.
7.Apart from the winning work, the jury may decide to give honorific mentions to other works submitted which are considered of special interest. The works worthy of this distinction will be premiered together with the winning work.
8.The Escola Superior de Música de Catalunya will have publishing and distribution rights to the score, the CD or any other format of the winning work.
9.All written or audio-recorded editions of the winning work will be marked “Premi Joan Guinjoan de l’Escola Superior de Música de Catalunya, 2012”.
10.The jury will be made up of five composers chosen from the Department of Theory and Composition of the School. The names of the members of the jury will be announced once the award decision has been made public. Their decision may not be appealed. The decision will be announced before January 10th, 2013.
11.The deadline for submitting scores is December 1st, 2012.
12.The works will be submitted under pseudonym.
2nd Prize:Euro 3000
Age Limit:35
Duration:6 to 15 minutes

 North/South Consonance
Summary:call for scores (various combinations)
Deadline: None
Date Posted: 20 April 2011
Details: - All composers are eligible for consideration
- Solo, chamber ensemble and chamber works up to 18 performers will be considered
- Vocalists, percussion and/or electronics are acceptable
- One work will be selected for recording on the North/South label
- $25 non-refundable fee per composition submitted required
(Checks must be negotiable through a US bank)

Complete submission guidelines posted at

Mail submissions to

P.O. Box 698 - Cathedral Station
New York, NY 10025 – 0698